Tag: Nitroglobus

It’s been over a decade since I first encountered Morlita Quan’s art in Second Life. At the time, she was one of the recipients in the Linden Endowment for the Arts 4th round of land grants to artists, and I was immediately struck by her work. Over the course of the next few years I encountered her art over and again at various festivals and collaborative art events, but it was not until 2016 that I was able to blog about it as a solo exhibition, when I visited Organic Geometry, presented at the Art Gallery the Eye under her physical world artistic name, MorlitaM. Since then, I’ve always been attracted to her exhibitions whenever presented, finding myself deeply attracted to her work, which often blends the use of geometric and organic forms in unique and captivating abstracted ways.

However, her latest exhibition – currently being hosted by Dido Haas at her Nitroglobus Roof Gallery – offers a glimpse of another side of Morlita’s life in addition to that of an artist and musician. Cats and Dogs is something of a challenge set by Dido – a long time friend of Morlita’s – to produce a themed exhibition. Dido tends to present these to folk every so often, and they are often particularly hard to fulfil, as Dido has a knack for both shining a light on a side of someone’s SL or physical life (or both) which is seldom seen, and easing them out of their established comfort zone (and I speak here from knowledge – Dido hand me such a challenge well over a year ago, and I still have yet to try and rise to it to a point where I have confidence in the results!).

For Morlita, the challenge came in the form putting together an exhibition focused on her work in taking in and caring for abandoned and mistreated animals, notably dogs.

While this might sound easy, it’s not necessarily so. For a start, should the images be of animals taken in Morlita’s physical world life, and if so, how should they be shot? What needs to be done to eliminate too much personal information from accidentally slipping into an image? Which animals should be featured? Should these be individual or group shots? And if not images of actual animals she is caring for, that what should be offered? shots of random animals, perhaps caught on the street? or should the images be drawn from digital sources – SL and elsewhere? And so on. When you add the fact that Morlita works in the realms of the conceptual and abstract, the melding of ideas and thoughts, both in her art and in her music, then the task becomes even more of a challenge – how do such approaches mix with the practicalities of animal welfare and care?

With Cats and Dogs the answer to that last question would appear to be quite eloquently. Cats and Dogs is at once both a collection of conceptual pieces, oft with abstractions of meaning, and of portraits and studies of cats and dogs which can be taken purely on that level, depending upon your outlook mood.

Some of the themes woven into the images will at once appear obvious to anyone what has owned a cat or a dog (perhaps most recognisably in Ego, while in others the layering of ideas might be more nuanced (as in the highlighting of the eyes in a on some, capturing the notions of intelligence and understanding within our furred friends). In others still, the potential for meaning / interpretation is even more nuanced, if one so wishes to make it so – such as GP_MorlitaM (9) – or can simply be seen as an image of an animal enjoying life (and splashing through water). These are pieces which also blend Morlita’s love of the animals with her love of geometry and organic forms, each piece bringing all of these aspects together in a unique expression of love and understanding.

Supported by 3D elements by Adwehe, Cats and Dogs is something of a very different exhibition for Nitroglobus; one that is obviously very personal to the artist – but also one fully in keeping with Dido’s tenet of encouraging her artists to present something which engages the eye and the mind. My apologies to her and Morlita to getting to this blog post a little later than is normally the case with exhibitions at Nitroglobus – and also to Dido for the fact that I still haven’t met the challenge passed to me back in late 2022!

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• Nitroglobus Roof Gallery (Sunshine Homestead, rated Moderate)

My idea of art is not the refraction of light, but the expression of what lies behind it. I want to create something that is inside a person, something that has a fragrance like fermented love. Therefore you rarely find anything cheerful or uplifting in most of my work, nor do I want to express such things.

Thus states Bamboo Barnes in discussing her latest exhibition – and her third at Dido Haas’ Nitroglobus Roof Gallery over the years – which opens on December 11th, 2023.

As I’ve frequently noted in these pages, Bamboo is one of the most vibrant, evocative, provocative, and emotive artists in Second Life. Her work is far removed from that of other artists who mix digital techniques with images from the physical world and those from SL, in that it it is both introspective and yet often – through the use of colour and tone – strongly assertive such that individual pieces can both reflect her inner thoughts, personal perceptions and feelings whilst at the same time speaking directly to the person viewing them in an equally personal and also entirely unique way.

Such is the case with Broken Chair, an exhibition of 19 studies by Bamboo, supported by a series of 3D elements by the artist, some of which reflect the title of the exhibition, others of which might appear more abstract at first glance.

The images are predominantly monochrome in nature, colours – outside of red – sparingly used. Each offers its subject in Bamboo’s trademark style: a face, sometime in full, sometimes in profile, often in sharp focus, just as often not; each one looking outwards at or beyond the observer, expression and pose – even when the eyes are unseen – giving voice to the tumult of thought and feelings tumbling through the mind within the head. What these thoughts and feeling might be is up to observers to interpret for themselves, but there is more than enough within each one to resonate with each of us, and cause a sense of understanding and familiarity.

Where colour is used, it is done so in emphasis of a mood, emotion or feeling, whilst the title of the exhibition speaks to what so often lies within us all: the introspections that are so personal we cannot give voice to them; thoughts that can – whatever their origin or cause – leave us spiralling in silence, trapped without ourselves – but which also demand expression, be it through physical or mental reflection. These are thoughts which can leave us feeling less-than-whole – or broken, if you will. Yet even whilst bringing forth this sense of brokenness, such thoughts and feelings can so often also impart an inner strength or drive to overcome, to mend; a determination to learn, to overcome, to become more whole and move forward in life.

So yes, we might so often feel broken inside, but as with a broken chair, we have the ability within ourselves to mend and heal. Perhaps not fully – even a repaired chair can so signs of the work applied to make it so – but enough to carry us forward in life. And within Broken Chair, Bamboo perhaps reminds us of that such feelings – and the drive they encourage – are both common to us all.

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• Nitroglobus Roof Gallery (Sunshine Homestead, rated Moderate)

For this article, I’m taking a look at two exhibitions which opened at Second Life in November 2023. They are both entirely independent to one another (and indeed, very different in form and style), but share some common themes which – to me at least – make them somewhat suited to joint coverage. Perhaps the most obvious connection between the two is that as they feature nudity, they should be considered NSFW; some of the other links are drawn entirely from my own perceptions and probably do not coincide to any great degree with those of the artists. Ego, take what you read here with a measure of circumspection – and do visit the exhibitions to gather your own thought on them.

The first exhibition is entitles – sort-of appropriately – Restricted, likely in recognition of the nudity it presents. It can be found in The Annex at Dido Haas’ Nitroglobus Roof Gallery, and comprises a selection of some of Dido’s monochrome / black-and-white work. These take the form of simple but elegant studies of Dido’s avatar, generally nude, in minimalist settings / scenes.

Of the collection, Dido states there is “no story, just more of me”; but while no story per se might be had within Restricted as a whole, the  individual pieces very much do offer glimpses of vignettes we might freely interpret, if so minded, whilst collectively and within their composition, framing and presentation, they most certain do offer a narrative of artistic measure in their celebration of the female form.

The use of framing is perhaps most delightfully apparent in What’s Up? and In The Corner, both of which utilise the physical framing of the picture in which to tell their individual stories.  In terms of technical composition, the use of light and shadow, the more mechanical aspects of photography – such as the Rule of Thirds – can be found combined through the eye of a genuine arts to produce a piece simply dripping with stories waiting to be told (Curtain). Alongside of it, the My Shadow images offer their own lessons in composition and narrative framing, whilst Shy is so exquisitely expressive, it captivates from the moment first seen.

Meanwhile at Monocle Man Galleries, curated by Lynx Luga (lynx Iuga) and Kit Boyd (and available through until November 19th inclusive) is Hotel. A noted photographer of the human form male and female, Troy’s art covers portraiture, nude studies and erotica, and he is rightly admired for his life-like studies, which have been featured across multiple Flickr groups as banner images, the subject of exhibitions and the focus of multiple SL publications.

As indicated by its sub-title, Hotel is from the wellspring of erotic images Tory has produced – and is thus potentially the more NSFW of the two exhibitions herein. It features a series of intimate / sexual black and white chiaroscuro images, best described by the exhibition’s introduction:

This collection is, in a sense, a return to Troy’s roots in erotica. Using a single room, he images various guests, single or otherwise, and the behaviours in which they indulge once the doors are locked and the lights are out. 

Offering a third-person view of these “behaviours”, each piece casts the observer into the role which combines a sense of presence within the activities taking place – perhaps as a participant taking a moment to watch, or as voyeur observing events with (or without?) the knowledge of those actively participating, or perhaps as the person behind the lens, capturing these moments of deep intimacy.

Which of these roles you opt to take – if any – is a matter of personal choice. What is not in question, however, is the depth of personal and shared intimacy evident throughout; together with the richness of presentation and style. In the latter regard, the use of chiaroscuro is genuinely exquisite, and does much to enhance what are already intense and personal studies, lifting them to the heights of erotica art. Each piece has its own narrative, shared and personal, and each is perfectly framed and processed.

So, what is the connection I see between these two exhibitions? Simply this: both are rich in their celebrations of individual freedoms of expression, be they in terms of how we see ourselves or in how we express intimacy, love and desire between one another regardless of gender, colour, etc., either individually or jointly. This is reason enough to appreciate both Hotel and Restricted; but add to that the fact that there are those zealously determined to deny such freedoms in order to force conformity to their own narrow strictures of society, and both exhibition might also be seen as offering a very subtle reminder of what be lost to many if we allow such zealotry to succeed.

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•  Nitroglobus Roof Gallery (Sunshine Homestead, rated Moderate)
• Monocle Man Galleries (Flying fortress, rated Adult)

September 2023 sees Debora Kaz make a return to what is – in my personal opinion – consistently the finest gallery in Second Life for the presentation of engaging, provocative and evocative art: the Nitroglobus Roof Gallery operated and curated by Dido Haas. She brings with her a further chapter in her Invisible Cities series; this one entitled Essay in Desire.

I’ve covered two previous chapters of Invisible Cities, one of which was also displayed at Nitroglobus – see Invisible Cities: Fighting Women at Nitroglobus in Second Life – and also one hosted at Artsville Galleries – see: Invisible Cities: The Future in the Present Overflows in Second Life. While I would not necessarily call Essay In Desire a “sequel” per se to those earlier exhibitions, I would perhaps refer to it as a further chapter in Debora’s exploration and presentation of themes of womanhood in the modern era.

Within Fighting Women, Debora explored the manner where – for much of history – women have had to survive within a – dare I say largely patriarchal – framework as objects of desire (and objects in general); a situation which often gives rise to physical, mental and psychological violence towards us, which can be both direct and also indirect (such as with the current onslaught against a woman’s right to bodily autonomy being very publicly played out in the United States, courtesy of a largely misogynistic right-wing pseudo-religious political movement). Within The Future in the Present Overflows, the focus shifted to a more individual viewpoint on how such visible/invisible / physical/mental/”moral” violence and restrictive practices can have on a single life.

For Essay on Desire, Debora combines the approach of focusing on the individual and the sense of self seen in The Future in the Present Overflows, and of offering a wider study of the concept of desire as found within Fighting Women. However, rather than focusing on the more destructive constatations of desire as framed by that exhibition, here Debora focuses on the more personal exploration of the precepts of desire – notably those of sensuality, sexuality, and eroticism – and how they play a vital role within the process of self-discovery and understanding of oneself.

This exploration comes primarily through images and words. The the latter come in the form of an essay which both sits as an introduction to the exhibition and as a treatise for thought and introspection. It is a powerful piece; one which should be read with care and consideration (perhaps most particularly if you are a male wishing to gain a better insight to the female psyche as seen from the female perspective)v, as it is rich with insight and honesty.

The images all follow a particular form and flow. Offered in muted tones, they comprise twelve oriented in a narrow portrait form and a further six in the more usual (for Nitroglobus) large-format landscape style. All of them present images of a woman at ease with herself and her sexuality, her poses suggestive of her awareness of self and a willingness to further explore her innate beauty and eroticism without the need to conform its display through outright nudity or through directly sexual poses as might otherwise be demanded.

Each image is carefully bordered to either side (and in place directly flowing into the image)1 by mix of hand-written text, formulae, flowery etchings and hints of formal geometry, all of which presents a clear, if subtle, symbolism.

For example, the use of hand-written text reminds us that – whilst it might not be so common now for whatever reason – for a long time the closest confidant a woman might have had to bestow her secrets and desires upon was her diary. Through its pages, she could give vent to desires, wishes, hopes, and thoughts which otherwise could never be delivered in public, the diary thus becoming both a small measure of release and a reminder of imprisonment and denial enforced by society.

These constraints are further emphasised by the use of formulae and geometry. Both symbolise control, order, logic and the reductive manner of society to define everything to the simplest of terms wherein everything – including the nature of woman – has a strictly defined place. This imposition of constraint and order extends into the 3D elements to be found within of Essay, where the upright and slanting poles are ranged around female figures as if to fence them in and confine their ability to express.

Finally, there are the figurines and the use of flowers within them images. Together, these present a gentle, visual underlying of a central truth within Debora’s essay:

This process of self-discovery is an intimate dance with oneself, where each step is a journey of self-unveiling. Like petals delicately unfurling to the sun, she reveals her deepest passions and fantasies, allowing her mind and body to be in harmony. The pursuit of pleasure becomes a celebration of life itself, an ode to her essence.

– Debora Kaz, Essay on Desire

However, to suggest Essay is a complex exhibition requiring deep thought would perhaps be unfair. Yes, there is a rich layering of ideas and thought. But at the same time, the central message is also self-evident through the beauty and honesty contained within the words and the images. It is a message that is inescapable and true: freedom of expression and self-discovery is an inalienable right, which should be available to all of us. For as Debora concludes quite perfectly in the case of contemporary woman:

The need for self-knowledge, in this context, transcends the physical and delves into the deepest layers of the soul … This self-understanding is the key that unlocks the door to intimate and genuine relationships, where eroticism flows naturally.

In a world that is in constant evolution, the contemporary woman embraces the journey of self-knowledge as an act of self-love and empowerment. She understands that her sensuality and eroticism are intrinsic parts of who she is, and by exploring them with sincerity, she inspires not only herself but also those around her to embrace the quest for their own truth with curiosity and gratitude.

– Debora Kaz, Essay on Desire

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• Nitroglobus Roof Gallery (Sunshine Homestead, rated: Moderate)

Now open at Nitroglobus Roof Gallery, curated and operated by Dido Haas, is an exhibition by Caly Applewhyte (Calypso Applewhyte). Entitled Through Their Eyes, it opened of June 5th and is the second exhibition I’ve visited of late (the first being Yes Her, which I reviewed for both itself and a possible wider context here) seeking to make a valid statement about women in society, and the unfair bias all too often demonstrated concerning our right simply to be who we want to be in societies – including, increasingly, even within so-called liberalised nations in the west – and not to be subject to uneven demands / expectations.

As Caly offers her own very clear and concise description of the focus of Through Their Eyes, I won’t bore you with my own subjective ramblings; instead, I’ll quote Caly directly.

Women have long been an integral part of society, but their experiences and perspectives are often ignored or undervalued. When we look at the world through women’s eyes, we see a complex and multifaceted reality.

In many societies, women are expected to conform to certain standards of behaviour and appearance, which can be restrictive and limiting. These societal expectations can have an impact on women’s self-esteem, confidence and sense of worth. Women often face a double standard, where they are judged more harshly than men for the same behaviours or actions. Despite these challenges, women have shown incredible resilience and strength, and have made significant contributions to society in a variety of fields.

– Caly Applewhyte, on Through their Eyes

Through women’s eyes we can better understand the challenges they face, the unique perspectives they bring and the importance of promoting gender equality. By recognizing and addressing these challenges, and promoting women’s unique perspectives and contributions, we can work towards a more just and equitable society for all.

– Caly Applewhyte, on Through their Eyes

Thus, the exhibition presents a series of individual studies representing women of many ethnicities and backgrounds, even one a focused head-and-shoulders portrait in which the colour of skin, style of hair, mode of dress (where visible), is not intended to be the primary focus (although they clearly have a role to play in reminding us that women are global citizens who come from many backgrounds and social groups and who aspire to many things – just like the male of our species). What is important in these images are the subject’s eyes.

Whether looking directly at the camera or focused on something unseen from the perspective of the camera’s lens, the eyes of the women Caly has created / drawn together for this series all speak to matters of intelligence, vitality, hope, strength, desire; the emotions and drives that play such a key role in the lives of men, often to high levels of peer praise and adulation, but when shown by women are discounted – or worse, derided or subjected to passive-aggressive responses that (truth be told) perhaps speak to the fragility of the male ego than anything else.

These are eyes that speak of a wish to be free to express, to strive, to achieve; they present each individual in these portraits as an individual. At the same time, they offer a window by which the the world might be seen as women are too often forced to regard it: as a place of struggle simply to be accepted as an individual with needs, wants, drive and desires. In considering the world the eyes in these portraits are looking out upon, some might be encouraged to better understand the constant uphill struggle women face to simply gain a foothold of equitable respect within societies which are still the world over, driven by a patriarchal expectation of position and privilege rather than equality and openness.

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• Nitroglobus Roof Gallery (Sunshine Homestead, rated: Moderate)